During Act I of “On Your Feet!” there's a moment where Gloria (Christie Prades) and Emilio (Mauricio Martínez) are talking with Phil (Devon Goffman), a record label executive who won’t back their new hit because it isn’t in Spanish. An argument ensues — for a variety of reasons — but leads to the audience finding out more about Emilio’s background and how he came to America, how he’s been there for 15 years, and how he’s worked his butt off to get where he is. Suddenly he shouts, “Look at my face. Whether you know it or not, this is what an American looks like.” Cue one of the audience’s many thunderous applauses.

There is no art form more embodied by or tethered to the human form than dance, and classical ballet historically capitalizes on romantic ideals of gender binaries. George Balanchine, arguably the most influential 20th Century choreographer of ballet, famously declared, “Ballet is woman.” Woman as femme, woman on the excruciating yet ethereal pedestal of the pointe shoe, and woman as lifted and held by man. As dance critic Alistair Macaulay points out, Balanchine’s “kind of ballet was always a man’s view of woman, and a solely heterosexual one.”

Sometimes the most compelling thing about a performance is the connection the performers build with the audience. On Friday night, this is exactly what happened at the end of Actors’ Theatre’s fine production (and Michigan premiere) of Brian Yorkey and Tom Kitt’s mediocre “If/Then,” the 2015 musical remembered largely as a vehicle for “Wicked” and “Frozen” star Idina Menzel about a newly divorced 30-something urban planner who returns to New York City to start again only to question and double back on all the possible directions she might turn in terms of love and/or career.

It’s difficult to imagine where space-themed film soundtracks would be without “The Planets.” Gustav Holst’s orchestral suite has captivated audiences since its 1916 premiere, but also heavily inspired today’s masters of extraterrestrial music, John Williams and Hans Zimmer.